Art & Times
Stir It Up
AFROPUNK Brooklyn helps set the stage for dynamic artwork and contributions from gifted visual artists far and wide.
Alexandra Bell (b. 1983, Chicago, IL) is a multidisciplinary artist who investigates the complexities of narrative, information consumption, and perception. Utilizing various media, she deconstructs dominant histories to explore patterns in news reportage and society at large. Bell holds a B.A. in Interdisciplinary Studies in the Humanities from the University of Chicago and an M.S. in Print Journalism from Columbia University. She lives and works in Brooklyn, NY.
This year AFROPUNK Brooklyn will be partnering with The Metropolitan Museum of Art. The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy. The Museum lives in three iconic sites in New York City—The Met Fifth Avenue, The Met Breuer, and The Met Cloisters. Millions of people also take part in The Met experience online.
A photographer, designer, and filmmaker, Hassan Hajjaj is one of Morocco’s preeminent international artists, sometimes called his native country’s answer to Andy Warhol. Hajjaj has a diverse practice that includes portraiture, installation, performance, fashion, and furniture design.
No More Black Targets
No More Black Targets is a collective of artists–diverse in backgrounds–ethnicities and nationalities created in New York City, working in paint, digital media, patternmaking and also physical installations to raise awareness of the danger of unconscious bias and how it may be perpetuating gun violence against young black males.
Born in Miami, FL, Miguel Ovalle, Dizmology puts no medium beyond the scope of his skillset: sculpture, painting, drawing, video, clothing, graphic design and even jewelry. Many of his influences come from years of living and working in Japan, and is currently among a group of prestigious artists offered free studio space in the World Trade Center.
Informed by Yoruba mythology and the geometric form, Nigerian/Canadian Oluseye, fuses the human, the sculptural, and the traditional in his search for the archetypal balance between the spiritual and physical self. Combining acrylic, charcoal, pastel and steel wire, he embarks on an intersectional exploration of black male identity, existentialism, sexuality and outsider cultures. Informed by popular culture narratives, complicated by ideas of the “other”, and executed with an awareness of human-digitized tension, scarcity, and desirability, Oluseye’s work is inherently dynamic in its provocation of introspective and communal exploration.